The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk in French
Paolo Roversi (Italian, built-in 1947). Tanel Bedrossiantz, 1992. Digital print, 15 × 12 in. (38.3 × xxx.8 cm). Jean Paul Gaultier'due south "Barbès" women's ready-to-wear fall-winter collection of 1984–85. © Paolo Roversi
Paolo Roversi (Italian, born 1947). Tanel Bedrossiantz, 1992. Digital print, xv × 12 in. (38.3 × 30.8 cm). Jean Paul Gaultier's "Barbès" women'due south set-to-wear fall-wintertime drove of 1984–85. © Paolo Roversi
" width="220" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Gaultier_pink-Madonna-corset_428H.jpg"> Jean Paul Gaultier (French, b. 1952). Corset-style trunk conform with garters, 1990, Duchess satin. Worn past Madonna during the "Urban center" ("Express Yourself") sequence of the Blond Appetite World Tour (1990). Collection of Madonna, New York. (Photograph: The Montreal Museum of Fine Arts, Christine Guest)
Gaultier'southward corsets are very sexy-looking, and I consider wearing them a form of personal expression. The practice is oppressive only if it is forced, and women today can cull to clothing them or not; it is up to them. Plus, I wore those corsets as garments—on the outside—not as underwear hidden beneath my other apparel, the complete contrary of the way they were traditionally worn, in club to achieve a certain shape. I think that inversion of the concept of the corset is what turns information technology into a symbol of feminine power and sexual freedom.
—Madonna
" width="220" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Gaultier_Musette_428H.jpg"> "Musette" ensemble from Jean Paul Gaultier'southward "Ze Parisienne" haute couture spring-summer collection of 2002. Beaded sailor-striped sweater, black stretch wool pantskirt. © Patrice Stable/Jean Paul Gaultier
I've e'er loved the graphic and architectural aspects of stripes. My female parent dressed me in sailor-striped sweaters. They go with everything, never go out of style, and probably never will. There were as well other influences: my grandmother, Coco Chanel, Jean Genet, Popeye, Tom of Finland, Rainer Werner Fassbinder and his pic Querelle, the title grapheme of which was the ultimate sailor, a hypersexualized gay symbol, a fantasy, an icon, a course of virility that could exist ambiguous.
—Jean Paul Gaultier
" width="220" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/made/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Malka_Untitled_428H_600_388.jpg"> Alix Malka (French). Untitled, due north.d. Digital photograph, 47 × 741⁄ii in. (119.vi × 189.six cm). "La Mariée" wedding ceremony gown from Jean Paul Gaultier'south "Mermaids" spring-summer haute couture collection of 2008. Latex bodysuit with aureate scales; cone bra with shells; long, form-plumbing fixtures sequined alpaca skirt with latex mermaid's tail. © Alix Malka
" width="107" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Gaultier_French-Cancan_428H.jpg"> A blueprint from Jean Paul Gaultier's "French Cancan" women's ready-to-wearable fall-winter collection of 1991–92, every bit seen at his thirtieth ceremony retrospective rails show, October 2006. © Patrice Stable/Jean Paul Gaultier
" width="220" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Gaultier_Apparitions_428H.jpg"> "Apparitions" gown from Jean Paul Gaultier's "Virgins (or Madonnas)" women's haute couture spring-summertime collection of 2007. "Angelic" print satin strapless sheath; bustier-way top with "hologram" embroidery, bows; ivory silk tulle overskirt; "hologram," ivory lace veil. © Patrice Stable/Jean Paul Gaultier
Gaultier'southward 2007 "Virgins" collection was inspired by the imagery and symbolism of Christianity and religious art. For the runway show, the models had tears painted on their faces and their hair was styled to resemble medieval and Renaissance paintings of the Virgin.
Jean Paul Gaultier's teddy acquit, Nana, circa 1957. © Rainer Torrado/Jean Paul Gaultier
From an early age, I experimented with various aspects of design. I fabricated my showtime cone-shaped breasts out of newsprint for my teddy bear Nana. I took a round doily from my grandmother'due south firm and cutting out a circle in the middle of it to make a skirt for my deport. I did a bias cut that way without knowing what it was. —Jean Paul Gaultier
Jean Paul Gaultier (French, b. 1952). Sketch of Madonna's phase costumes for her Blond Ambition Earth Bout, 1989–90, inkjet print, 11 × 17 in. (27.9 × 43.1 cm). © Jean Paul Gaultier
" width="220" height="220" data-src="https://www.brooklynmuseum.org/assets/system-images/remote/https_d1lfxha3ugu3d4.cloudfront.net/exhibitions/images/Lagerfeld_Alek-Wek_-Numero_428H.jpg"> Karl Lagerfeld (High german, b. 1935). Untitled (Alek Wek) Numéro, March 2000. "Dubar" gown from Jean Paul Gaultier's "Romantic India" women's spring-summer haute couture collection of 2000. Camouflage evening gown featuring myriad khaki, cinnamon, papaya tulle ruffles. © Karl Lagerfeld
Sarah Jessica Parker wore this gown at the 2000 MTV Movie Awards in New York.
Jean Paul Gaultier's Classique eau de toilette. (Photo: BPI)
For the bottle, I was keen on the concept of the human body, to which I wanted to comprise what I remembered of my grandmother's corsets. For the packaging, I wanted to appropriate an everyday object, something solid and functional like a can, and use information technology in breathy contradiction to the traditionally luxurious perfume bottle. It was technically very difficult to brand a mankind-colored corset bottle or even to give a can tin the shape of a corset. And so, the idea was to encompass a body-shaped bottle with a corset and and so bundle information technology in a tin—something that was protective merely cold. I wanted it to seem real. Through that somewhat incompatible combination, the trunk thus became the content.
—Jean Paul Gaultier
The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk
October 25, 2013–February 23, 2014
The Brooklyn Museum is the only East Coast venue for The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, the first international exhibition dedicated to the groundbreaking French couturier. Playful, poetic, and transformative, Gaultier's superbly crafted and detailed garments are inspired by the beauty and diversity of global cultures.
This multimedia exhibition is organized around seven themes tracing the influences on Gaultier's development—from the streets of Paris to the cinema—since he emerged equally a designer in the 1970s. It features approximately 140 haute couture and prêt-à-porter ensembles, from the designer'due south earliest to his most recent collections, many of which are displayed on custom mannequins with interactive faces created by high-definition audiovisual projections. Accessories, sketches, stage costumes, excerpts from films, and documentation of runway shows, concerts, and dance performances, as well equally photographs past mode photographers and contemporary artists who stepped into Gaultier's world, explore how his avant-garde designs claiming societal, gender, and aesthetic codes in unexpected ways.
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